‘Pretty Woman’ — Not So Pretty, According to Critics

It’s been 28 years since Pretty Womanwarmed the hearts of filmgoers with the unconventional romance between a sex worker (a breakout performance by Julia Roberts) and a businessman (Richard Gere in all his silver daddy glory). But times have changed, and many critics got the creepy crawlies at last night’s opening of the Broadway musical version, now playing at the Nederlander Theatre. Here are some of their thoughts on why Pretty Woman isn’t so pretty in 2018…

“No one should have had to step into that red dress again… A facsimile of that red dress — and of many of the other outfits worn by Ms. Roberts, including her skimpy hooker clothes — show up in “Pretty Woman: The Musical,” which lowers the already ground-scraping bar for literal-minded adaptations of film to stage.” –The New York Times

“In truth, the singing is all well and good, but considering the evolution of gender politics over the last 30 years, “Pretty Woman” today comes off pretty tone deaf.” – NY1

“The Pavlovian responses demanded of audiences by this “Pretty Woman” correspond to the reflexes that are expected to be triggered by the scenes from other popular movies re-created in musicals of this kind. The takeaway on evenings like this one is that great musicals are born in a brain, not a box office.” – The Washington Post

“So sanitized is the material for our protection that the dumpster discovery of “Skinny Marie,” beaten to death, gets a ho-hum reaction, tastelessly followed by “Happy Man” (Eric Anderson), our singing-dancing ragbag emcee, genially assuring us that we should “never fear — let hope and faith surround you…. Don’t give up until your dreams have found you.” Tell that to Marie.” – Variety

But not all critics were so curmudgeonly. Chris Jones of The Chicago Tribune gave it a (moderate) thumbs up, saying:

“You gotta admire the way the rehab has been constructed: Karl’s buffed Edward is plenty sexy and charming enough to fulfill a “Fifty Shades”-like fantasy, or two, floating down from the balcony, but Karl never gets ahead of his skis. This is the Samantha Barks show, and she sure takes command as she emotes center stage, belting out the aspirational ballads and whipping her benign corporate raider into her own kind of shape.”